Chapter X: Café Life of the Madrileños 166 (1)

ILLUSTRATIONS

TITLE PLATE

Plan of Madrid 1

Arms of Madrid 2

General view of Madrid 3

View of Madrid from the Teja 4

General view of Madrid 5

View of Madrid from San Isidro 6

The Fountain of Cybele and Calle de Alcalá 7

The Northern Railway Station and Royal Palace 8

Puerta del Sol 9

Puerta del Sol 10

Calle de Alcalá 11

Calle de Alcalá 12

Calle de Alcalá 13

Calle de Alcalá 14

Carrera de San Jerónimo 15

Calle de Alcalá 16

Calle de Sevilla 17

Calle de Alcalá 18

Plaza de Castelar 19

Calle de Toledo 20

In old Madrid 21

Paseo de Recoletos 22

Paseo de Recoletos 23

Paseo de Recoletos 24

Paseo de Recoletos 25

Calle de Alcalá and Statue of Aguirre 26

Paseo de la Castellana 27

Plaza de Isabel II. 28

Plaza de Oriente 29

Plaza Mayor 30

Plaza Mayor 31

Plaza Mayor and Statue of Philip III. 32

Calle de Serrano 33

Calle de la Princesa on Good Friday 34

Entrance to the Park of Alfonso XIII. 35

Casa de Campo. The Lake 36

Toledo Bridge 37

Toledo Bridge 38

Toledo Bridge 39

Segovia Bridge 40

Entrance to the Retiro 41

Entrance to the Retiro 42

Principal Entrance to the Retiro 43

Retiro. The Parterre 44

Retiro. The Lake 45

Retiro. The Crystal Palace 46

Retiro. Arab Pavilion 47

Retiro. Arab Temple 48

Gate of Alcalá 49

Gate of Hierro 50

Gate of Toledo 51

Chamber of Deputies 52

The Cortes. Two bronze lions in front of the Palace 53

Interior of the Chamber of Deputies 54

Interior of the Chamber of Deputies 55

Reception Room at the Chamber of Deputies. Decorated by Don A. Mélida 56

Reception Room at the Chamber of Deputies. Decorated by Don A. Mélida 57

Façade of the Hospital. Calle Fuencarral 58

La Latina 59

Portal of the Hospital of the Conception or “La Latina” in the Calle de Toledo 60

Staircase of La Latina 61

Portal and Staircase of the Hospital de la Latina 62

Arabian Palace of the Prado 63

Arabian Palace of the Prado 64

Lujanes Tower 65

The Aguirre School 66

The Spanish Theatre 67

The Royal Theatre 68

The Treasury Office in the Calle de Alcalá 69

Palace of the Marqués de Portugalete 70

Palace of the Marqués de Linares 71

The Bank of Spain 72

The War Office 73

Southern façade of the Museum and the Statue of Murillo 74

The Prado Gallery. North façade 75

The Prado Gallery 76

The New Exchange 77

The Town Hall 78

The Northern Railway Station 79

Círculo de Contribuyentes 80

The Senate House 81

Hispano-American Bank 82

The Spanish Academy 83

The Atocha Station 84

National Library 85

The National Library and Museum 86

National Library. Detail of the façade 87

National Library and Museum. East façade 88

National Library. Sphinx 89

The Equitable Buildings in the Calle de Alcalá 90

Statue of María Cristina and Museum of Reproductions 91

Interior of the New Exchange 92

The Home Office 93

Astronomical Observatory 94

The Exchange 95

The War Office 96

The Town Hall 97

Ministerio de Fomento 98

Hermitage of San Isidro 99

Refuge of Our Lady of Mercy 100

Church of San Francisco el Grande 101

San Francisco el Grande. General view from the Choir 102

San Francisco el Grande. The Concession of the Jubilee of the Porciúncula 103

San Francisco el Grande. Left side of the Cupola 104

Crypt in the Almudena Cathedral 105

The Cathedral. Partial view of the Crypt 106

Church of Las Calatravas 107

Las Calatravas 108

Church of El Buen Suceso 109

General view of the Church El Buen Suceso 110

Church of San José 111

Church of San Isidro el Real 112

Interior of the Church of San Isidro 113

Church of La Virgen del Puerto 114

Church of Las Salesas. The Suffering Christ 115

Church of San Cayetano 116

Altar-piece in the Bishop’s Chapel 117

Door in the Bishop’s Chapel 118

The Bishop’s Chapel. Left side of the door 119

The Bishop’s Chapel. Right side of the door 120

The Bishop’s Chapel. Upper part of the door 121

The Bishop’s Chapel. Sepulchre of the Bishop of Plasencia 122

The Bishop’s Chapel. Sepulchre of Don Francesco de Vargas 123

The Bishop’s Chapel. Sepulchre of Doña Inés de Carvajal 124

Parish Church of St Andrew. Sepulchre of San Isidro, Patron Saint of Madrid 125

Interior of the Church of San Jerónimo. From a picture in the Prado of the Prince of the Asturias (Ferdinand VII.) taking the Oath of Allegiance in 1789 126

View of the interior of the Church of San Jerónimo 127

San Antonio de la Florida 128

Church of San Antonio de la Florida 129

Interior of the Church of San Antonio de la Florida 130

Fresco in San Antonio de la Florida, by Goya 131

Fresco in San Antonio de la Florida, by Goya 132

Fresco in San Antonio de la Florida, by Goya 133

Fresco in San Antonio de la Florida, by Goya 134

Group of Angels in San Antonio de la Florida, by Goya 135

Group of Angels in San Antonio de la Florida, by Goya 136

Interior of the Church of San Antonio de la Florida 137

San Antonio de la Florida. Painting in the principal Chapel, by Goya 138

San Antonio de la Florida. Paintings on the centres of the intrados of the Choir and principal Chapel Arches, by Goya 139

San Antonio de la Florida. Paintings on the springings of the intrados of the principal Chapel Arches, by Goya 140

San Antonio de la Florida. Paintings on the springings of the intrados of the Choir Arches, by Goya 141

San Antonio de la Florida. Paintings on the intrados of the Chapel Arch, left side, by Goya 142

San Antonio de la Florida. Paintings on the intrados of the Chapel Arch, right side, by Goya 143

San Antonio de la Florida. Triangles formed by the Dome adjoining the principal Chapel, by Goya 144

San Antonio de la Florida. Triangles formed by the Dome adjoining the Choir, by Goya 145

San Antonio de la Florida. Paintings at the left sides of the windows of the Dome, by Goya 146

San Antonio de la Florida. Paintings at the right sides of the windows of the Dome, by Goya 147

San Antonio de la Florida. First group on the Cupola to the left of the centre, by Goya 148

San Antonio de la Florida. Second group on the Cupola to the left of the centre, by Goya 149

San Antonio de la Florida. Centre of the composition on the Cupola facing the entrance, by Goya 150

San Antonio de la Florida. First group on the Cupola to the right of the centre, by Goya 151

San Antonio de la Florida. Second group on the Cupola to the right of the centre, by Goya 152

The Prado 153

The Prado 154

The Prado Gallery 155

The Prado. The Velazquez Gallery 156

Madrid Picture Gallery. Lower plan 157

Madrid Picture Gallery. Chief plan 158

Scene in the Life of Santo Domingo de Guzman, by Pedro Berruguete. Prado 159

Ecce Homo, by Luis de Morales. Prado 160

The Baptism of Christ, by Navarrete. Prado 161

Portrait of Don Carlos, son of Philip II., by Alonso Sánchez Coello. Prado 162

The Infantas Isabel Clara Eugenia and Catalina Micaela, daughters of Philip II., by Alonso Sánchez Coello. Prado 163

Jacob receiving the Blessing of his father Isaac, by Ribera. Prado 164

Vision of St Peter the Apostle to St Peter Nolasco, by Zurbaran. Prado 165

Los Borrachos, by Velazquez. Prado 166

The Forge of Vulcan, by Velazquez. Prado 167

The Surrender of Breda, by Velazquez. Prado 168

Philip IV., by Velazquez. Prado 169

Queen Isabel of Bourbon, by Velazquez. Prado 170

Don Baltasar Carlos, by Velazquez. Prado 171

Philip IV. in Hunting Costume, by Velazquez. Prado 172

Don Baltasar Carlos in Hunting Costume, by Velazquez. Prado 173

Duke of Olivares, by Velazquez. Prado 174

Æsop, by Velazquez. Prado 175

St Antony Abbot visiting St Paul, by Velazquez. Prado 176

Las Hilanderas, by Velazquez. Prado 177

Las Meninas, by Velazquez. Prado 178

Our Lady of the Immaculate Conception, by Murillo. Prado 179

El Tiñoso: St Elizabeth of Hungary tending the sick in her Hospital, by Murillo. Prado 180

Father Cabanillas, by Murillo. Prado 181

The Child Jesus as Shepherd, by Murillo. Prado 182

Detail of Plate 179, by Murillo. Prado 183

The Vision of St Bernard, by Murillo. Prado 184

The Virgin of the Rosary, by Murillo. Prado 185

The Child St John, by Murillo. Prado 186

The Children, Jesus and St John, known by the name of “Los Niños de la Concha,” by Murillo. Prado 187

The Holy Family and the Bird, by Murillo. Prado 188

Head of the Holy Shepherd (fragment), by Murillo Prado 189

La Porciúncula (the Vision of St Francis), by Murillo. Prado 190

The Martyrdom of St Andrew the Apostle at Patras, by Murillo. Prado 191

The Dream of the Roman Senator and his wife, which produced the Church of St Maria Maggiore at Rome, by Murillo 192

The Roman Senator and his wife telling their dream to Pope Liberius, by Murillo 193

The Annunciation, by El Greco. Prado 194

The Holy Family, by El Greco. Prado 195

The Crucifixion, by El Greco. Prado 196

The dead Christ in the arms of God the Father, by El Greco. Prado 197

Charles IV., by Goya. Prado 198

Queen Maria Luisa, by Goya. Prado 199

The nude Maja, by Goya. Prado 200

The draped Maja, by Goya. Prado 201

The Family of Charles IV., by Goya. Prado 202

Goya at the age of 80, by V. López. Prado 203

Jesus and Mary Magdalene, by Correggio. Prado 204

The Holy Family and the Lamb, by Rafael. Prado 205

A Cardinal, by Rafael. Prado 206

Madonna and Child, with St Bridget and St Hulpus, by Titian. Prado 207

The Crown of Thorns, by Domingo Tiepolo. Prado 208

Portrait of Albrecht Dürer, by himself. Prado 209

Queen Artemisia, by Rembrandt. Prado 210

Village Fête, by Teniers. Prado 211

Gallery of the Archduke Leopold in Brussels, by Teniers. Prado 212

The Three Graces, by Rubens. Prado 213

The Holy Family, by Rubens. Prado 214

Van Dyck and Count Bristol, by Van Dyck. Prado 215

The Last Supper, by Juan de Juanes. Prado 216

The Catholic Sovereigns adoring the Virgin, by Juan de Borgoña. Prado 217

A Gothic King, by Alonso Cano. Prado 218

The Water from the Rock, by Juan de las Roelas, El Clérigo. Prado 219

A Soul in Pain, by Ribalta. Prado 220

Portrait of Philip II., by Pantoja de la Cruz. Prado 221

Portrait of Pedro Berruguete. 15th century. Collection of Don José de Lázaro Galdeano 222

Architecture, Painting, and Sculpture, by G. Suñol. Allegoric group intended for the façade of the Prado 223

The Emperor Charles V. Prado Museum 224

The Empress Isabel of Portugal, wife of Charles V. The Prado 225

A Satyr and children dancing. The Prado 226

Marble relief. Life-size figures. The Prado 227

Marble relief. Bacchantes. Life-size figures. The Prado 228

Bronze heads. The Prado 229

Tapestry. The Baptist taking leave of his parents to devote himself to penitence 230

Tapestry. The Virgin enthroned, Gideon showing the lamb’s skin, and other scenes 231

Effigy of St Ferdinand, King of Spain. Chapel Royal 232

(1 to 5) Crowns and votive crosses of Guarrazar. (6) Remains of St Ferdinand’s robe. (7) Moorish spurs of St Ferdinand. Royal Armoury 233

C 1. Spanish man-at-arms, 15th century. Royal Armoury 234

C 4. Spanish crossbowman, 15th century. Royal Armoury 235

C 2. Spanish halberdier, 15th century. Royal Armoury 236

Mace-bearer of the 16th century with surcoat displaying the Arms of Castile and Leon 237

A 26. Tilting harness of Charles V. Royal Armoury 238

A 112. Armour presented to Charles V. by the Duke of Mantua. Royal Armoury 239

Armour of Charles V. made by Desiderio Colman. (1849 Catalogue.) Royal Armoury 240

A 231. Armour made for Prince Philip (II.) by Wolf of Landshut (1550). Royal Armoury 241

Armour of Charles V., Augsburg or Nuremberg make. (1849 Catalogue.) Royal Armoury 242

A 37. Tilting harness of Charles V. made by Desiderio Colman, Helmschmied. Royal Armoury 243

A 65. Tilting harness of Charles V. Royal Armoury 244

A 149. Armour of Charles V. (1541). Royal Armoury 245

A 243. Equestrian armour of Philip II. made by Sigmund Wolf of Landshut. Royal Armoury 246

Armour of King Philip II. Royal Armoury 247

Armour of Philip II., engraved with the Royal Arms of England. Royal Armoury 248

A 290. Armour of King Sebastian of Portugal. Royal Armoury 249

A 290. Armour of King Sebastian, back plate (details). Royal Armoury 250

A 291. Armour of Philip III. made by Lucio Picinino of Milan. Royal Armoury 251

Armour made at Pamplona for the Duke of Savoy (1620). Royal Armoury 252

Half armour of Philip IV. Royal Armoury 253

Milanese brigantine which belonged to Charles V. Royal Armoury 254

B 1. Boy’s half armour made in Italy for the Infante, afterwards Philip III. Royal Armoury 255

D 1. Boy’s half armour made for the Infante, afterwards Philip III. (Second view.) Royal Armoury 256

B 4. Half armour presented to the Infante, afterwards Philip III., by the Duke of Terranova. Royal Armoury 257

B 18. Boy’s half armour made for the Infante Fernando, son of Philip III. Royal Armoury 258

Half armour belonging to Prince Philip, afterwards Philip IV. Royal Armoury 259

A 434. Gorget. Subject: The Siege of Ostend, 1601. Royal Armoury 260

A 434. Gorget of Philip II. Subject: The Battle of Nieuport. Royal Armoury 261

Helmet of Philip II. made at Augsburg in 1549. Royal Armoury 262

A 243. Helmet of Philip II. made by Wolf of Landshut in 1554. Royal Armoury 263

A 290. Burgonet of King Sebastian of Portugal. Royal Armoury 264

A 292. Burgonet made for Philip III. by Lucio Picinino. Royal Armoury 265

A 350. Helmet for the Duke of Savoy (side view). Royal Armoury 266

D 3. Burgonet of Charles V. designed by Giulio Romano. Royal Armoury 267

M 5. Helmet of Francis I. of France, taken at the Battle of Pavia. Royal Armoury 268

1511. Satin and velvet turban found in the palace of Mustafa Bey of Oran, in 1722.--1533. Steel turban of Ali Pasha, Turkish admiral at Lepanto. Royal Armoury 269

D 63. The “Plus Ultra” shield designed by Giulio Romano. Royal Armoury 270

D 10. Shield, early 17th century. Design: Warriors in Combat. Royal Armoury 270

D 69. Italian shield, 16th century. Design: The Triumph of Love. Royal Armoury 271

D 68. Shield of Augsburg make, 16th century. Royal Armoury 271

D 79. Shield presented to Philip III. by the Duke of Savoy in 1603. Royal Armoury 272

D 86. Moorish leather shield, end of 15th century. Royal Armoury 273

M 6. Shield and sword of Francis I. of France, taken at the battle of Pavia. Design: The Gallic Cock attacking a warrior and putting him to flight. Royal Armoury 274

A 242. Pommel and cantle of saddle of Philip II. Royal Armoury 275

A 291. Cantle-plates of saddle made by Lucio Picinino. Royal Armoury 276

Turkish saddle given to Charles III. Royal Armoury 277

Trophy formed of several pieces of armour of Philip II. Royal Armoury 278

Armour of a greyhound. Royal Armoury 279

1987, 1992. Spanish arquebuses, end of 16th century.--1955. Petronel, 16th century.--1961. Spanish arquebus, with octagonal barrel inlaid with mother of pearl and ivory, 16th century.--1972, 1977, 1946. Keys or cranks to cock the arquebuses. Royal Armoury 280

Double breech-loading cannon, in bronze, used in Spain at the end of the 15th century. Royal Armoury 281

Sedan chair of Philip V. (from the coach-houses of the Royal Palace, Madrid). Royal Armoury 282

Sedan chair of Ferdinand VI. (from the coach-houses of the Royal Palace, Madrid). Royal Armoury 283

Sedan chair of Charles IV. (from the coach-houses of the Royal Palace, Madrid). Royal Armoury 284

Sedan chair of Philip V. (from the coach-houses of the Royal Palace, Madrid). Royal Armoury 285

Sedan chair of Charles III. (from the coach-houses of the Royal Palace, Madrid). Royal Armoury 286

Campaign litter of the Emperor Charles V. Royal Armoury 287

Carriage given by Napoleon I. to Charles IV. (from the coach-houses of the Royal Palace, Madrid). Royal Armoury 288

The Crown coach (from the coach-houses of the Royal Palace, Madrid). Royal Armoury 289

General view of the interior of the old Armoury 290

General view of the interior of the old Armoury 291

General view of the interior of the old Armoury 292

Royal Academy of History. Exterior of the triptych-reliquary from the stone monastery in Aragon 293

Royal Academy of History. Part of the triptych-reliquary from the stone monastery in Aragon 294

Royal Academy of History. Paintings on the exterior of the triptych-reliquary from the stone monastery in Aragon 295

Statue of Philip III. in the Plaza Mayor 296

Statue of Philip IV. in the Plaza de Oriente 297

Statue of Espartero the Peace-maker 298

Statue of General Concha, Marqués del Duero 299

Statue of Velazquez 300

Statue of Murillo 301

Retiro. Statue of Goya 302

Statue of Cervantes 303

Cervantes 304

Statue of Calderón de la Barca. (The work of J. Figueras) 305

Isabel the Catholic. Bronze group in the Castellana. (The work of Oms) 306

Monument to the memory of Columbus in the Paseo de Recoletos 307

Monument to the memory of Columbus in the Paseo de Recoletos 308

Monument to the memory of Columbus in the Paseo de Recoletos 309

Monument to the memory of Columbus in the Paseo de Recoletos 310

Monument to the memory of Columbus in the Paseo de Recoletos 311

Monument to commemorate the 2nd of May 312

Fountain of Neptune in the Prado 313

The Fountain of Cybele 314

The Prado, with the Fountain of the Four Seasons 315

The Royal Palace from the Casa de Campo 316

Royal Palace. The changing of the Guard (Halberdiers) 317

The Palace 318

The Palace from the Plaza de Oriente 319

The Royal Palace 320

Façade of Palace 321

Palace and Plaza de la Armeria 322

The Queen Mother leaving the Palace 323

Principal Staircase 324

Detail of Throne Room 325

General view of Throne Room 326

The Throne 327

Room of Charles III. 328

The Queen’s Room 329

Room of Mirrors 330

Gasparini Room of Charles III. 331

Hall of Columns 332

The Wedding. The King and Queen leaving the church and entering the Royal coach 333

A Battle of Flowers 334

His Majesty the King of Spain 335

H.M. Queen Victoria of Spain 336

The King and Queen of Spain 337

H.M. Queen Victoria 338

Her Majesty the Queen Mother 339

Don Carlos of Bourbon 340

Medal struck in honour of the Royal Marriage 341

A Lady with a Mantilla 342

Mantillas 343

An out-door Pelota Court, with six players, three against three 344

A Pelota Court 344

A Tartaña 345

The Harvest Cart 345

Sketches in Spain 346

Sketches in Spain 347

A Dancer 348

An Orange Seller 348

The Counsellor of the village 349

Full list of lottery results 349

Bull-fighters at the tavern 350

A Spanish girl 350

View of the Monastery of the Escorial 351

View of the Monastery (east side) 352

The Colonnade of the Monastery 353

Upper Cloister of the Monastery 354

Lower Cloister of the Monastery 355

The Evangelists’ Court 356

Principal Staircase of the Monastery 357

Interior of the Church 358

Panteon of the Kings 359

Panteon of the Infantes 360

Chapter Room. (Monastery) 361

Sacristy. (Monastery) 362

Altar-piece of the Santa Forma, painted by Claudio Coello. (Sacristy of the Monastery) 363

Retablo of the High Altar. (Basilica of the Monastery) 364

Left side of the High Altar: Interment of the Emperor Charles V. 365

The Tabernacle in the Escorial Church 366

Choir Stalls. (Basilica of the Monastery) 367

Library of the Monastery 368

Apollo and Mercury, by Peregrino Tibaldi. (Fresco on the arch of the Escorial Library) 369

Reception Hall. (Palace) 370

Hall of Ambassadors. (Palace) 371

Dining-Hall. (Palace) 372

Pompeian Hall. (Palace) 373

“Casa del Principe” or Lower Lodge 374

Coffee-Room. (Casa del Principe) 375

The Last Supper, by Titian. (The Escorial) 376

The Holy Family, by Rafael. (Casa del Principe at the Escorial) 377

St Maurice and other Martyrs, by El Greco. (Chapter Hall of the Escorial) 378

The Dream of Philip II., by El Greco. (Chapter Hall of the Escorial) 379

Country Dance, by Goya. (Tapestry in the Dining Hall of the Palace) 380

The Washerwomen, by Goya. (Tapestry in the Escorial Palace) 381

The China Merchant, by Goya. (Tapestry in the Escorial Palace) 382

The Grape-Sellers, by Goya. (Tapestry in the Escorial Palace) 383

Children picking Fruit, by Goya. (Tapestry in the Escorial Palace) 384

The Kite, by Goya. (Tapestry in the Escorial Palace) 385

A Smoker, by Teniers. (Casa del Principe at the Escorial) 386

The Story of the Passion. Diptych, in ivory, of the 13th century. (From the Camarín of St Theresa) 387

Egyptian Bronzes. Amon-Ra and Isis. (National Archæological Museum) 388

Egyptian Bronzes. Osiris and Osor-Api. (National Archæological Museum) 389

Alcalá de Henares. Paseo de Cervantes 390

Alcalá de Henares. General Central Archives 391

Alcalá de Henares. General Central Archives 392

Alcalá de Henares. Façade of the Archives 393

Court of the Alcalá de Henares. General Central Archives 394

Alcalá de Henares. Chapel of the “Oidor.” Actual state of the north wall 395

Alcalá de Henares. Actual state of the south wall 396

Alcalá de Henares. Chapel of the “Oidor.” Actual state of the frieze round the north wall 397

Alcalá de Henares. The University 398

Alcalá de Henares. Façade of the University 399

Alcalá de Henares. Longitudinal section of the Chapel of San Ildefonso in the University 400

Alcalá de Henares. Details of the façade of the University 401

Alcalá de Henares. Details of the façade of the University 402

Alcalá de Henares. Paseo de la Estación 403

Alcalá de Henares. Moorish Palace 404

Alcalá de Henares. Interior of the Cathedral 405

Alcalá de Henares. Interior of the Cathedral 406

Alcalá de Henares. The Cathedral. Nave 407

Alcalá de Henares. Sepulchre of Don Alonso Carrillo, Archbishop of Toledo 408

Alcalá de Henares. Sepulchre of Cardinal Francisco Ximénez de Cisneros 409

Alcalá de Henares. Sepulchre of the Archbishop of Toledo, Don Alfonso Carrillo de Acuña 410

Alcalá de Henares. Details of the Sepulchre of Cardinal Francisco Ximénez de Cisneros 411

Alcalá de Henares. Chapel of Santiago in the Church of Santa María 412

Alcalá de Henares. Chapel of Santiago in the Church of Santa María 413

Alcalá de Henares. Staircase in the Archbishop’s Palace 414

Alcalá de Henares. Details of the Western Court and Entrance Court, Archbishop’s Palace 415

Alcalá de Henares. Longitudinal section and details of the Archbishop’s Palace 416

Alcalá de Henares. Frontispiece of a book called “Vita Cristi Cartuxano” 417

Muñoza bulls, the property of the Duke of Veragua, by Joaquín Díez 418

Testing a “Becerro,” or young bull, at Tablada, near Seville, by Joaquín Díez 419

Selecting bulls from the herd of the Duke of Veragua at “La Muñoza,” by Joaquín Díez 420

The Toilet of the Toreador before the Bull-fight, by V. Esquivel 421

Before the Bull-fight, by B. Ferrandiz 422

Toreadors preparing to enter the Arena, by J. Agrasot 423

Entertaining the Bull-fighter, by Alarcón 424

“Here comes the Bull!” by P. Francés. National Exhibition of Beaux-Arts, 1887 425

“The Uninvited Guest,” by E. Mélida 426

Head of a Bull, by Joaquín Díez 427

Principal façade of the New Plaza de Toros 428

Principal Entrance to the New Plaza de Toros 429

Interior of the New Plaza de Toros 430

Bull-fight. Entrance of the “Cuadrilla” 431

Bull-fight. A Picador inciting the bull 432

Bull-fight. The Picador 433

Bull-fight. The Picador 434

Bull-fight. A “Quite” 435

Bull-fight. A “Quite” of El Gallo 436

Bull-fight. Lagartijo after a “Recorte” 437

Bull-fight. The Banderillas 438

Bull-fight. Frascuelo irritating the bull with a cloak before killing him 439

Bull-fight. Lagartijo irritating the bull with a cloak before killing him 440

Bull-fight. The bull being dragged out of the Arena 441

Ladies at the bull-fight 442

The Procession 443

Entrance of the bull 443

The Picador 444

At close quarters 444

A turn with his back to the bull 445

Fixing the Banderillas 445

The Matador 446

The final stroke 446

Bull-fight. Leap over the bull’s neck 447

Bull-fight. Leap with the pole 448

Bull-fight. Banderillas 449

Toreador wounded during a bull-fight, by Lizcano 450

Guerrita. Banderillero 451

Antonio Fuentes 451

Luis Mazzantini and Cuadrilla 452

Bull-fight. Last moments of a Toreador after being attacked in the Arena, by R. Novas 453

MADRID

I

GENERAL IMPRESSIONS OF MADRID

“From Madrid to heaven, and in heaven a spy-hole to look at Madrid” is the vaunt of the inhabitants of the Spanish capital. This pride has its justification, for Madrid is a fine city, remarkable for its position on a plateau over two thousand feet above the sea, famous for its progress during the eventful eighteenth and nineteenth centuries, and interesting by reason of the great names in the arts and literature inscribed upon its records. Madrid for the writers of the Romantic school was as charming as all other things Spanish; for de Musset it was “princesse des Espagnes” and “blanche ville des sérénades.”

Few towns in Europe are situated amid so many natural hindrances to development as Madrid. It stands south and east of the bleak mountains of central Spain, upon one of many exposed and almost treeless uplands, where the winds of winter and early spring sting and bite, and the sun in summer sheds pitiless heat, which dries up the blood and disposes to languor. So fickle is the climate of this lofty region that, even in the height of August, it is never quite safe to discard the _capa_ after sundown, for, during the hottest day, a sinister and gelid breath may assail one at the street corner with a menace of chill to the lungs. Yet Madrid is not unhealthy. It is dry, invigorating, swept by mountain breezes, bathed for long periods in brightest sunlight, and free from the contamination and depression of smoke. With proper provision against the variations in temperature, one may enjoy a full measure of health and live to an advanced age in this city of the hills. The more dangerous kinds of fever are uncommon in Madrid; the chief risk to health is in the sudden keen air that brings a shiver when the body has been scorched by the sun, and one turns to seek the shady side of the street.

Rio and Cabarras, two Spanish historians, speak of the bad odours and the dirt of Madrid in the seventeenth century. This reproach was, however, removed in the time of Henry Swinburne, an intelligent traveller, who visited the city in 1776. “The appearance of Madrid,” writes Swinburne, “is grand and lively; noble streets, good houses, and excellent pavement, as clean as it was once dirty.” In earlier days it was not thought necessary to wash the thoroughfares, because the purity of the air was an effective antidote to the evil of the filth and the smells. Rio, for example, advances the opinion that the invigorating mountain breezes are a sufficient purification.

The clear quality of the Madrid sunshine is a compensation for the treachery of its winds. There are but few sunless days. “The sky at Madrid is almost always clear and serene,” wrote Laborde, in 1809. The heights of the Guadarrama are too far from the city to throw their shade upon it, and the brilliant sunlight pours down and floods the streets and squares, and penetrates every dwelling. Looking upon the wide, rolling, hillocky country from the outskirts of the city, you have a marvellous vista, full of colour, glow, and the grandeur of huge sunlight spaces. The sky is almost perennially deep blue; but at times there are vast masses of purple cloud above the horizon, whose passing shadow produces changing effects of light and darkness upon the far-stretching landscape, and adds a sternness to the sierra.

For a long period this part of Castile was ravaged by the fellers of trees. The farmers aimed besides at the extinction of all kinds of birds, under the delusion that every bird is harmful to crops; and in the conduct of this warfare the axe was laid to the roots of millions of trees, so that no harbour for small birds might remain. This clearing of the forests destroyed the natural barriers against icy winds, deprived the land of all shade, made deserts in place of groves, and affected the climate and rainfall. A wiser policy was instituted in later years, and now a number of large plantations have grown up in the environs of the town, and the once denuded hillocks and bare gullies are here and there clothed with shady coppices. For the rest, the herbage of these grey uplands yields moderate pasturage for sheep in summer.

Madrid lacks the dignity and beauty which a wide river lends to a city. The little Manzanares is not an imposing flood. It can scarcely rank as a river. The handsome Puente de Toledo spans the stream, and gives a touch of the picturesque to its muddy flow; and there is also the well-constructed Bridge of Segovia, with many arches. These gave rise to the now venerable joke that it would be better to sell the bridges and buy some water with the proceeds.

Several writers have declared that the seat of the Spanish Court is not typical of the cities of Spain. This may be accepted as true in the sense that it has very little to show in the nature of antiquities. Segovia, Toledo, Avila, Burgos, Seville, Cordova, and Granada possess more interesting and romantic memorials of the past than the city of Madrid. Nevertheless, the Castilian capital has associations with days of immense moment in the history of Spain, and it is moreover one of the handsomest towns in the Europe of to-day; and whatever else is wanting in Madrid, it boasts of a priceless collection of some of the world’s masterpieces of painting. Only here can one realise the greatness of Velazquez, and appraise the genius of Goya. Its Royal Armoury, too, is the finest in the world.

That Madrid has modelled itself upon Paris is not to its discredit. The city manifests the modern spirit in Spain rather than the mediæval atmospheres. It does not live upon its past like Cordova and Toledo. Madrid aspires to be a progressive modern municipality. The streets are broad, the system of lighting is modern, there are electric tramcars, motor-cars, and London and Parisian vehicles in the thoroughfares. The streets are deluged with the fire-hose three times a day, and the nuisance of the dust is thereby abated.

A good supply of wholesome water is a boon in this arid district, but it must be admitted that Madrid is not too well off in this respect. The plazas are adorned with trees, and there are public parks, gardens, and open spaces. The Englishman, the Frenchman, and the German feel at home in this cosmopolitan centre; and yet everywhere there are the signs of Spain, the essential characteristics of a Southern people, as shown in courtly manners, mode of living, amusements, dress, and racial temperament.

To say that Madrid is an attempted replica of Paris is scarcely a fair description of the city. Madrid has an aspect and a character of its own. Its gaieties are tempered with Castilian restraint. The business of the city is conducted without bustle; the diversions are matters of importance, and they are keenly enjoyed; but the Madrileño is not so vivacious and hilarious as the Parisian. Even here, in the hub of modern Spain, the Spaniard exhibits his placidity and patience. He is not given to hurry. The express train, which travels at a speed of twenty-five miles an hour, is fast enough for him, and he will get up in the early morning to catch it. Yet life in Madrid is decidedly animated, even if it is the pursuit of pleasure and not of wealth that occupies its inhabitants.

And yet there is trading and speculating in the city, and merchants contrive to build up businesses, and shopkeepers thrive, and occasionally make large fortunes. But the aim is rather to enjoy life than to “push” and “hustle” in the hope of accumulating dollars by middle age. In fine, the art of contented enjoyment is discreetly cultivated in Madrid by all classes. Valdés, in his novel “Froth,” tells us how the “smart set” and the fashionable idlers of the city pass their days, and the picture is not unlike the life of our own West End society. But sentiment is a luxury for which the rich are prepared to pay a high price. You may see beautifully furnished houses deserted and allowed to fall into ruin by the owner, because his loved wife or child drew their last breath there, perhaps years ago.

No, despite the tramcars, the modern air of the streets, and the London and Parisian fashions in dress, you cannot fail to realise that this is a Spanish city. Look at the workman, in his canvas blouse and drill trousers, with the _boina_ on his head and hemp-soled canvas shoes upon his feet; or the work-girl, with a rose in her hair and a fan in her hand. These are types of Spain, distinctive in their social ideals, their garb, and their physiognomy. Now and then, a peasant from the provinces is seen rubbing shoulders with a grandee, clad in the costume of Piccadilly. The contrast is sharp; the man about town and the field-toiler might be natives of two different countries, for the wear of the peasant is more African than European. His feet are in sandals, his legs bound with linen, his head tied up in a kerchief, and his body clothed with white cotton. And around his waist is a broad, gay silk sash, in whose voluminous folds he conceals his money and his keen-edged, long-bladed _navaja_.

How antiquated, too, in British eyes is the ox-cart, heavy and ramshackle, with its squeaking wheels, and pair of bullocks under the carved wooden yoke! And the mule-teams--the gaunt, bony beasts, in Moorish-looking harness, with jangling bells around their necks, and the quaint devices of the clipper upon their coats, attended by swarthy men in knee-breeches and short jackets, with the peaked Castilian hat upon their cropped heads--these surely are of the days when Don Quixote rode on the great grey wastes of La Mancha, accompanied by his loyal Sancho.

Old Madrid is rapidly disappearing. One of its confines was formerly the Puerta del Sol, which is now almost in the centre of the city. The gate is no longer in existence, but the place in which it stood still bears its name, and is the focus of the city’s life. Ancient purlieus were situated to the east of the royal palace; to-day scarcely any of the alleys and small squares remain, though here and there you may note a quaint corner or an old house.

From the Puerta del Sol the chief thoroughfares of Madrid radiate. The Calle de Alcalá, the Calle del Arenal, the Calle Mayor, and the fashionable Carrera de San Jerónimo branch from this central square. In the Puerta del Sol stands the Ministerio de la Gobernación, a large, but not architecturally notable, edifice. Here also are the chief hotels, cafés, and restaurants. In the Calle de San Jerónimo are the best shops. Every one comes to stroll, lounge, and “to take the sun” in this bright, busy space in the heart of the city. It is the Piccadilly Circus of Madrid. All the types of Madrid’s population may be seen here from the bull-fighter to the great legislator. American and English tourists mingle with the throng; German commercial travellers talk business to their customers on the seats outside the cafés; and one hears several languages spoken in the hotels.

In the Buen Retiro and the Parque de Madrid you may study the _beau monde_ of the city from the shade of the trees during the afternoon parade. Here there are over two hundred acres of pleasure grounds, more or less unkempt, but containing a fine avenue, paths, and umbrageous trees. The upper classes of the city delight in riding and driving. It is necessary to own a carriage and pair in order to figure in Madrid society, and the hobby of motoring is on the increase here as elsewhere in Europe. In former times the Buen Retiro was a royal demesne. Kings of Spain from Philip II. to Charles III. resorted to this pleasaunce, and a palace stood in the gardens. Nowadays, the Parque is a public pleasure resort, used by high and low, and often merry with a carnival or a battle of flowers. The Royal Palace overlooks the Manzanares, and dominates the city. It is in form a huge quadrangle, designed by Sachetti. The views from its windows are wide and impressive, and an idea of their beauty may be gained from the balcony near the Royal Armoury. Behind the palace is the Campo del Moro, a lovely garden on the spot where Ibn Yusuf besieged the old Alcázar. Only the privileged are permitted to enter this verdant sanctuary.

In an interesting book, “A Year in Spain,” written by a young American in 1831, there is a picture of the daily life of Madrid which may serve to illustrate the day’s round among the leisured in the city of to-day: “The first thing in the morning was to arrange and order everything for the day. Then each took the little _higada_ of chocolate and _panecillo_, or small roll, of the delightful bread of Madrid. This meal is not taken at a table but sitting, standing, or walking from room to room, and not unfrequently in bed. This over, each went to his peculiar occupations; the old woman, with her Diarios and Gacetas, to open her reading-room in the entry; Florencia to ply her needle; and Don Valentin to play tinker overhead, having first taken out his flint and steel, and cigar and paper, to prepare his brief cigarillo, which he would smoke, with a sigh between each puff, after those days of liberty when a cigar cost two _cuartos_ instead of four. Towards noon he would roll himself in his _capa parda_--cloak of brown--and go down into the Puerta del Sol, to learn the thousand rumours which there find daily circulation. If it were a feast day, the Mass being over, he would go with his daughter to the Prado. At two the family took its mid-day meal, consisting, beside some simple dessert, of soup and _puchero_, well-seasoned with pepper, saffron, and garlic. If it had been summer, the _siesta_ would have passed in sleep; but it being winter, Don Valentin took advantage of the short-lived heat to wander forth with a friend, and in the evening went to his _tertulia_, or friendly reunion. In summer, one, or even two o’clock, is the hour of retiring; but in winter it is eleven. Always the last thing before going to bed was to take a supper of stewed meat and tomatoes, prepared in oil, to sleep upon.”

Although this is a fair account of the inactive life of Madrid, it must not be supposed that no business is done in the city. There are comparatively few manufactures; but there are many shops, and a great share of the produce of Spain is brought into the capital. Tobacco and metal ware are the principal manufactures, and there are a large number of craftsmen who work independently at various trades. Madrid is more a centre of merchants and shopkeepers than of manufacturers.

George Borrow came to Madrid, on his Bible-distributing mission, and lodged in the Calle de la Zarza, “a dark, dirty street, which, however, was close to the Puerta del Sol, the most central point of Madrid.” Borrow went to see two criminals strangled, and gathered some vivid and lurid impressions of the life among the manolos, “the rabble of Madrid.” He declares that the walls of the city enclose “the most extraordinary vital mass to be found in the entire world,” and claims Madrid as essentially Spanish. This is true only if we have regard for the fact that the metropolis of Spain has still a character of its own, and is in many respects more “European” and modern than Seville, Cadiz, Malaga, and Granada. In Cordova and Toledo we are reminded at every step of the influence of the Morisco, but in Madrid we recall the Spain of Charles V. and of the Bourbons.

Since 1836, Madrid has been a University city. The academy founded at Alcalá was transferred here at that time, and to-day there are about eight thousand students. The Real Academia de Bellas Artes was founded here towards the middle of the eighteenth century. Several fine examples of the art of Murillo are in the gallery of the Academy, and there are also works by Ribera, Rubens, Zurbaran, and Alonso Cano. Besides these institutions there are the Academy of History, the Academy of Science, the Academy of Medicine, and a number of other learned societies.

The Museum of Modern Art contains only a few paintings of importance, but there are some notable pictures by Fortuny, and a few pieces of modern sculpture. The great treasury of art, the Prado Gallery, is fully described in a separate volume of this series. It is the greatest glory of Madrid.

The Naval Museum will recall the past maritime supremacy of Spain. In the National Library there are nearly a million books and a large number of manuscripts, including the beautiful, illuminated Gothic work dating from the tenth century, a thirteenth-century Bible, and the Siete Partidas of Alfonso the Learned. The National Museum of Archæology contains a very interesting collection of Roman, Gothic, and Moorish antiquities.

It would be difficult to find a word which would convey a true impression of a town, but if we were limited to the employment of a single term to describe Madrid, _rococo_ would suggest itself. The capital is elegant, fanciful, and yet stately. It does not smile like Seville, nor frown like Toledo, and yet it is neither sad nor stern. Granada and Cordova sleep. Madrid never seems to slumber; it is one of the most restless places upon the earth. It has the dignity of Castile and the frivolity of Paris; it exhibits the congestion of London in parts within its gates, but it has no dingy, sunless slums, and few signs of an ugly indigence.

There is the luxurious Madrid of the aristocracy and the hidalgo, the Madrid that lives for fashion and pleasure, and there is the Madrid of the shopkeeper and the lower middle class. Beneath these strata are the wage-earners, the mechanics and labourers, a frugal and usually industrious community. There is also the Madrid of a large nondescript class composed of mendicants, thieves, hawkers, and the rabble and derelicts of society.

There is the Madrid of the casinos, some intellectual, others merely social or sporting. The city has its coteries of ardent politicians, military men, financiers, reformers, freethinkers, revolutionaries, and its societies of the scientific, learned, and artistic. There is no specific character which one can point to as typical of Madrid. One passion is, however, manifest throughout all classes--the love of bull-fighting. Seville is the school of the torero; Madrid is the scene of his valour in the arena. The bull-fighter is the idol of the populace. In the cafés of the Puerta del Sol, or in the ring of the Plaza de Toros, his figure is one that arouses the deepest interest and warmest admiration. An eminent jockey in England has his host of admirers, but he cannot command that universal respect which is accorded to the _espada_ in Spain. The great bull-fighter is the pet of Madrid society, the demi-god of the populace, the model of the “sports” of the city.

It is just as easy to lead the studious, contemplative life in Madrid as in London, if one elects to be aloof. On the other hand, there is every opportunity for gaiety, social amenities, and dissipation. Madrid offers almost every kind of life to its inhabitants. Its 540,000 natives, forming Borrow’s “extraordinary vital mass,” are quite as motley as the population of Manchester. Madrid is therefore neither a purely commercial, fashionable, pleasure-seeking, nor cultured centre. Bilbao and Barcelona are the busy marts of Spain; Burgos, Salamanca, and Cordova subsist, as it were, upon the grandeur of the past, and you wonder how the people live. But Madrid throbs with life, and manifests the new ideals and views of the country in the domain of politics, in social reforms, in the arts and sciences, and in the diversions of society. In the realm of thought, the new Spain has its impulse and its centre in Madrid. Barcelona has been called “the life of Spain,” and in the commercial sense this is true. Yet Barcelona boasts of a strong affinity with France, and a great part of its trade is in the hands of foreigners. It is from Madrid that one may expect the impetus of a patriotic, national, and racial advancement, based upon culture and the recognition of the principles of social liberty.

II

THE HISTORY OF THE CITY

The records of Madrid before the tenth century are extremely scanty, and the early history of the city is largely conjectural. There is no doubt that the Moors established a fortress here, and called it Majrît; but the Romans were in possession before the Arab conquest of the Peninsula, as certain tablets, discovered in the city by Fernandez de Oviedo, serve to prove.

Upon the disruption of the Khalifate the town became subject to Toledo. Whether it was reconquered before or after the fall of that city, by Alfonso VI., is a vexed question. The credit of taking the town is assumed by the people of Segovia. At this time (1085) Madrid was encompassed by a strong wall, stretching from the Moorish Alcázar, now the Royal Palace, to the Church of our Lady of the Almudena; thence to the street of Segovia by the Cuesta de los Ciegos to the Puerta de Moros, and through the Calle Mayor and the Plaza de Oriente to the Alcázar.

According to an old tradition, still accepted by a part of the populace of Madrid, an image of the Virgin of the Almudena, now in the possession of the nuns of the Sacramento Convent, was concealed by the zealous Christians, during the Moorish occupation, in a tower of the city wall. Three hundred years after the sacred image was discovered and restored to the Church. There is a similar legend concerning the sculpture of the Holy Mother found at about the same date.

Upon the victory of Alfonso, the mosque was purified and dedicated to the Vírgen de la Almudena, and on the site is the fine new Cathedral. A mixed population of Christians, Jews, and Moors lived within the city walls at this period, and the staple industries were the making of hemp, linen, and cloth. One of the regulations of that day referred to the muzzling of dogs, as may be seen from an inspection of the curious Fuero de Madrid, which is preserved by the municipal authorities.

The city is mentioned only occasionally in Castilian annals. Sancho el Bravo in vain sought health and strength from its bracing air.

Under Ferdinand IV. the Cortes first assembled in Madrid, to meet there again in 1335 under Alfonso XI. The townsmen warmly espoused the cause of Peter the Cruel. In 1403, Henry III. sent from the city an embassy to Persia, under Gonzalez Clavijo, to negotiate with the potent warrior sovereign Tamerlane. The emissaries were absent from Spain for two years, and during the journey they visited Constantinople and Samarkand.

John II. and Henry IV. lived in the Royal Palace, and encouraged many poets of Castile who were of their retinue. It is proved by municipal documents that Madrid was not then so insanitary and neglected as some writers have stated, for there were rules for the disposal of refuse, and an order was made for the paving of some of the chief streets.

Upon the death of Henry IV., a faction supporting his daughter, Juana (who is said to have been born here), seized the Alcázar, and held it for several weeks against the Duque del Infantado. Isabella, however, bore the town no grudge, and during her brilliant reign its prosperity increased by leaps and bounds. It remained loyal to the crown during the Comuneros rising, and was rewarded by a visit from Charles V. in 1524. He had taken a fever, and at the advice of his physicians, came to Madrid to regain health in this elevated, bracing region of Castile. A year after, he was in conflict with Francis I. of France, and the French king was a captive in Madrid. Attended by a few members of his Court, Francis occupied a room in the old palace, then known as the Alcázar. There is no doubt that he suffered keen humiliation during this detention, and that he was harassed by fears for the future. His gaoler was Alarcon, the valorous commander of the Spanish infantry, who appears to have treated his royal prisoner with courteous consideration.

When Francis heard that the Emperor desired that he should relinquish all claim to Italy and yield Burgundy, he seized his dagger, and swore that he would rather die than consent to the terms. And although Alarcon restrained him from plunging the dagger into his body, the King avowed that he would sooner suffer lifelong imprisonment than bear the disgrace of gaining freedom by the loss of power and dignity.

Lying on his bed, surrounded by counsellors, the French sovereign sank into a condition of fever and extreme depression. At length he declared his willingness to yield.

By the famous Treaty of Madrid, which was signed in 1526, Francis I. abandoned his rights over parts of Italy and certain portions of Holland and Belgium. The compact was solemnly celebrated at a religious service, and the French and Spanish monarchs passed a few days together before Francis crossed the frontier of Spain.

No sooner had he passed over the Bidassoa than Francis cried: “I am yet a king!” Never had he intended to keep to the terms of the Treaty of Madrid. His breach of faith alarmed Charles, who sent Lannoy and Alarcon to France as his emissaries. Their errand was unavailing; Francis offered a sum of money to the Emperor, but refused to cede Burgundy. And so the bitter feud between Charles and Francis was continued.

Charles V. was a singular example of weakness, of obstinacy, and of reason, with a bias for right and justice. He delighted in the quietude of Aranjuez, and was fond of directing the work of the gardeners. The emperor was athletic in his early manhood, and addicted to field sports. He loved the sights and sounds of wild nature, and took pleasure in roaming the forests. During his visits to Italy, he went to see many famous pictures, and paid homage to Titian. His versatility was also exhibited in his great taste for music and his knowledge of the technique of the art.

He it was who first conceived the project of elevating Madrid to the rank of capital. It was left, however, to his son to promulgate the decree declaring the town to be _unica Corte_. The document, dated 1561, has unfortunately been lost. Madrid had this advantage over Toledo, Valladolid, and the other old capitals, that it was not identified with any one in particular of the kingdoms that made up Spain, but with Spain in general.

Philip II. held his Court at Madrid in 1561, but he preferred the solitude of his palace of the Escorial. Under this monarch’s rule the city was enlarged, the streets widened, and several squares built. At this time a number of the surrounding forests were felled in order to raise money for the royal exchequer. Don John of Austria, the natural son of Philip IV. by the beautiful actress Calderona, lived in the Buen Retiro. In “The Lady’s Travels into Spain,” written in 1679, we read that it was against the custom to permit the illegitimate sons of royalty to enter Madrid. Don John was therefore confined in the Buen Retiro, “which is the Royal Seat at one of the farthest Parts of Madrid, a little without the Gate.” Here the prince led a secluded existence. “And he shew’d himself so little that he was never seen at any publick Feast during the Life of the late King: but since, Times have changed, and his Fortune stands on a different bottom.”